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Ages 21+

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Cannibal Corpse

Heavy Metal

Many words come to mind when you hear the name Cannibal Corpse, but one truly defines the soon-to-be thirty-year death metal veterans: Unstoppable. Returning with their 14th full-length, the monstrous Red Before Black, serves to not only reiterate this but to once more raise the stakes, making it very clear who sets the standard when it comes to always compelling music that is equally brutal and complex. Moreover, the band have pushed themselves again, ensuring that it stands out from their catalog. “Throughout our career we’ve tried to improve the precision of both our musical execution and our album production, while still maintaining full-on aggression. ‘Red Before Black’ continues in that direction, but might go even further on the aggressive side of things. It’s definitely precise, but it has a rawness to it that goes beyond anything we’ve done recently,” asserts bassist Alex Webster. “We really worked super hard crafting these songs, practicing them, and getting them where we wanted to be more so than on any of our previous albums,” adds drummer Paul Mazurkiewicz. “And as Alex said, musically I think it’s the most raw sound we’ve had – and at the same time I think it’s our most focused, tightest and catchiest record.”

Having played in the region of two hundred shows around the globe in support of the titanic A Skeletal Domain, the quintet – rounded out by guitarists Rob Barrett and Pat O’Brien, and vocalist George “Corpsegrinder” Fisher – settled down to begin writing after completing their successful run on 2016’s Summer Slaughter tour. As has always been the case, there was no blueprint for what they wanted the full-length to be, rather letting it develop naturally with instruments in their hands. “Towards the end of the ‘A Skeletal Domain’ cycle we did talk about having some riffs that breathe a little more, but that was about it. When everybody started writing I believe it actually became a feel thing more than it ever has been with us,” says Mazurkiewicz. “That it wound up being a really raw, mostly straightforward kind of album wasn’t part of a big plan or anything,” Webster asserts. “We just tried to write the best songs we could, and this is how they turned out.” The aforementioned aggression, rawness and catchiness leap out from the speaker as soon as the listener hits play, “Only One Will Die” perhaps the most ruthless yet immediate album opener 2017 has seen. What follows is a relentless barrage of ferocious music that maintains the insanely high standards the unit have long held themselves to, and while there is a great diversity in dynamics there is never a let up in intensity. The devastating “Firestorm Vengeance”, for instance, sounds like the work of men only the most foolhardy would choose to mess with, likewise the title track and ultra-belligerent “Destroyed Without A Trace”. The vile, lurching passages of “Code Of The Slashers” play menacingly off against bloodthirsty thrashings, while “Scavenger Consuming Death” stands out as one of the heaviest additions to one of the weightiest catalogs in extreme music. With “Remaimed” – penned by O’Brien – unleashing some sickening tones that sound wrought from an instrument designed to devastate everything and the eerie droning breaking into “Hideous Ichor”, new flavors have been introduced to their sonic palette this time out. “We’re always looking for ways to move our sound forward while maintaining the style we’ve developed over the years,” Webster states. “I think we managed to do that with ‘Red Before Black’ – it has some new ideas, but you’ll also hear things on this album that would sound at home on our earlier releases. We want to grow as a band while staying true to our roots”.

With 2006’s Kill and the two releases that followed it – 2009’s Evisceration Plague and 2012’s Torture – the band forged a tight bond with renowned producer Erik Rutan (Hate Eternal, Goatwhore), and for Red Before Black they chose to reunite with him. Comfortable and confident in his company, Webster asserts that “he understands death metal better than just about anyone, both as a producer and as a musician”, and with his Mana Studios located not far from their home base in Florida it was also very convenient for one of the hardest touring bands in metal. “We of course love working with Erik and he did an awesome job on the albums he did for us, but we just finished a long tour cycle and then worked extremely hard on writing and practicing these songs, so being close to home for the recording was a compelling factor too,” says Mazurkiewicz. “These days, we don’t all have to be there for the whole process any more, but if one of us was needed at the studio we could get there fairly quick.” Under Rutan’s watchful eye the sessions went smoothly and without a hitch, the only thing slowing them down being the attention to detail exercised by all involved, intent on perfecting their vision. With Vince Locke once more handling the artwork, fans can be assured that it suitably reflects the music lurking behind it. “Vince’s style has been a huge part of our band’s visual image since our very first album. With ‘Red Before Black’ he’s made another killer piece, and this time the viewer has the victim’s perspective, which is a little different for us.”

With 2017 seeing a slew of stunning new releases from death metal’s old guard – including Suffocation, Obituary and Dying Fetus – it’s been a landmark year both for the genre and its early innovators, and with Red Before Black Cannibal Corpse stand strong alongside their peers. “We’re proud to be part of a scene that has great, experienced bands that stick to their guns,” affirms Webster. “Death metal is an established form of underground music that’s here to stay, and the leadership bands like these have shown by staying true to the genre is no doubt part of the reason it has such longevity.” That Cannibal Corpse have carved out a career spanning almost three decades is testament to their work ethic, innovative songwriting, passion and devotion to extreme music – though it still remains an astounding feat to the members, as Webster makes humbly clear. “Who could have imagined this? When we started, even Black Sabbath hadn’t been around for three decades. There simply was no precedent for a lifelong career in metal, of any kind, let alone a relatively new form like death metal. We’ve been unbelievably lucky, and we are so grateful to our fans for making it possible.” In typically grounded fashion, they continue to forge ahead, seeing no end in sight, Webster stating he likes to think they have yet to write their best record, while Mazurkiewicz outlines their goals: “I would say we just want to keep it going, try to better ourselves – and finally open for Slayer!”

Artist Links

Hate Eternal

Pop

Started in 1997 by one of Decibel Magazine's Top 20 Death Metal Guitarists of All Time, Erik Rutan (of Morbid Angel & Ripping Corpse), HATE ETERNAL has easily become one of the most prominent names in the extreme metal scene with Terrorizer Magazine recognizing the group as one of the Top 8 Bands of the last Decade! Erik Rutan, J.J. Hrubovcak and Chason Westmoreland weave complex riffs, devastating drums, and truly ferocious vocals into a new masterpiece - INFERUS. The new album is already listed as one of the most anticipated albums of 2015. It’s heavy, it’s catchy, it’s innovative!

Though the band has experienced great success since its beginning in 1997, HATE ETERNAL are no strangers to turmoil and strife. In 2002, Erik chipped vertebrae in his neck in a van accident on tour and spent the next couple of months out of commission. During this period, band members withdrew from tours mere weeks from start date. This included a tour on which a London show was filmed for the band’s first-ever live DVD. Replacements were found and the tours continued on as planned. One of the most unfortunate events was the untimely passing of bassist and dear friend, Jared Anderson, who passed in October 2006 while in talks to rejoin the band. None of the issues ever kept HATE ETERNAL from its trajectory. Almost three years after the metal masterpiece, "I, Monarch", HATE ETERNAL returned to the death metal scene with a new record. Fury and Flames, the band’s fourth studio album, marked the start of a new chapter in HATE ETERNAL’s already illustrious career. Fury and Flames was hailed as a diverse, heavy, chaotic and emotionally fueled record and saw the band on the road in the U.S. and Europe including the large European summer festival circuit (Party San, Summer Breeze and Brutal Assault).

For the writing and recording of Phoenix Amongst the Ashes, HATE ETERNAL recruited J.J. Hrubovcak on bass to join the devastating trio. In terms of the writing on Phoenix Amongst the Ashes, Rutan stated “it was my goal to expand upon what the band has done in the past, and add new dynamics and twists to the traditional, dissonant HATE ETERNAL style, yet keep it in the same vein. It took the three of us really pushing ourselves, and digging deep into the essence of who we are as musicians and writers and players to create something very unique and special.” The touring cycle for this record took the band to Southeast Asia, the Middle East, Central and South America as well as the standard U.S. and European tours.

Following Jade Simonetto's departure, the band recruited Chason Westmoreland on drums and signed with Season of Mist for release of their sixth full-length masterpiece titled Infernus. It was recorded at frontman Erik Rutan’s own Mana Recording Studios in St. Petersburg, FL with mastering handled by Alan Douches of West West Side. This time, artist Eliran Kantor (Hatebreed, Testament, Soulfly) was recruited to create the lavish cover art.

Regarding the recording and the signing, Rutan comments: "We are ecstatic about how the recording for our new album has been coming out so far, and our new label and home Season of Mist. We've worked very hard on crafting these songs to reflect our path, from our past to the present, and the journey of HATE ETERNAL and its members. Writing this album was a long and arduous process. It took a tremendous amount of determination, blood, and sweat to bring this all to fruition. We're super proud of what we've accomplished creatively, and excited at the prospect of releasing what we feel is our most powerful HATE ETERNAL material to date. Now it is time to bring this all to life! The recording process so far has been fantastic. I've never felt so focused and determined on a HATE ETERNAL record, and I know that this will be an album our listeners and supporters will truly appreciate. It represents an important milestone for me personally since 15 years ago both HATE ETERNAL began recording its first album and Mana Recording Studios was born. We have so much more news to share with you over the coming months. We cannot wait for you to hear this album!"

HATE ETERNAL have been one of the leading death metal acts worldwide for over eighteen years. The band's full-length albums are considered crucial genre touchstones, and HATE ETERNAL are a proven headliner on major stages across five continents.

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Ages 21+

Many words come to mind when you hear the name Cannibal Corpse, but one truly defines the soon-to-be thirty-year death metal veterans: Unstoppable. Returning with their 14th full-length, the monstrous Red Before Black, serves to not only reiterate this but to once more raise the stakes, making it very clear who sets the standard when it comes to always compelling music that is equally brutal and complex. Moreover, the band have pushed themselves again, ensuring that it stands out from their catalog. “Throughout our career we’ve tried to improve the precision of both our musical execution and our album production, while still maintaining full-on aggression. ‘Red Before Black’ continues in that direction, but might go even further on the aggressive side of things. It’s definitely precise, but it has a rawness to it that goes beyond anything we’ve done recently,” asserts bassist Alex Webster. “We really worked super hard crafting these songs, practicing them, and getting them where we wanted to be more so than on any of our previous albums,” adds drummer Paul Mazurkiewicz. “And as Alex said, musically I think it’s the most raw sound we’ve had – and at the same time I think it’s our most focused, tightest and catchiest record.”

Having played in the region of two hundred shows around the globe in support of the titanic A Skeletal Domain, the quintet – rounded out by guitarists Rob Barrett and Pat O’Brien, and vocalist George “Corpsegrinder” Fisher – settled down to begin writing after completing their successful run on 2016’s Summer Slaughter tour. As has always been the case, there was no blueprint for what they wanted the full-length to be, rather letting it develop naturally with instruments in their hands. “Towards the end of the ‘A Skeletal Domain’ cycle we did talk about having some riffs that breathe a little more, but that was about it. When everybody started writing I believe it actually became a feel thing more than it ever has been with us,” says Mazurkiewicz. “That it wound up being a really raw, mostly straightforward kind of album wasn’t part of a big plan or anything,” Webster asserts. “We just tried to write the best songs we could, and this is how they turned out.” The aforementioned aggression, rawness and catchiness leap out from the speaker as soon as the listener hits play, “Only One Will Die” perhaps the most ruthless yet immediate album opener 2017 has seen. What follows is a relentless barrage of ferocious music that maintains the insanely high standards the unit have long held themselves to, and while there is a great diversity in dynamics there is never a let up in intensity. The devastating “Firestorm Vengeance”, for instance, sounds like the work of men only the most foolhardy would choose to mess with, likewise the title track and ultra-belligerent “Destroyed Without A Trace”. The vile, lurching passages of “Code Of The Slashers” play menacingly off against bloodthirsty thrashings, while “Scavenger Consuming Death” stands out as one of the heaviest additions to one of the weightiest catalogs in extreme music. With “Remaimed” – penned by O’Brien – unleashing some sickening tones that sound wrought from an instrument designed to devastate everything and the eerie droning breaking into “Hideous Ichor”, new flavors have been introduced to their sonic palette this time out. “We’re always looking for ways to move our sound forward while maintaining the style we’ve developed over the years,” Webster states. “I think we managed to do that with ‘Red Before Black’ – it has some new ideas, but you’ll also hear things on this album that would sound at home on our earlier releases. We want to grow as a band while staying true to our roots”.

With 2006’s Kill and the two releases that followed it – 2009’s Evisceration Plague and 2012’s Torture – the band forged a tight bond with renowned producer Erik Rutan (Hate Eternal, Goatwhore), and for Red Before Black they chose to reunite with him. Comfortable and confident in his company, Webster asserts that “he understands death metal better than just about anyone, both as a producer and as a musician”, and with his Mana Studios located not far from their home base in Florida it was also very convenient for one of the hardest touring bands in metal. “We of course love working with Erik and he did an awesome job on the albums he did for us, but we just finished a long tour cycle and then worked extremely hard on writing and practicing these songs, so being close to home for the recording was a compelling factor too,” says Mazurkiewicz. “These days, we don’t all have to be there for the whole process any more, but if one of us was needed at the studio we could get there fairly quick.” Under Rutan’s watchful eye the sessions went smoothly and without a hitch, the only thing slowing them down being the attention to detail exercised by all involved, intent on perfecting their vision. With Vince Locke once more handling the artwork, fans can be assured that it suitably reflects the music lurking behind it. “Vince’s style has been a huge part of our band’s visual image since our very first album. With ‘Red Before Black’ he’s made another killer piece, and this time the viewer has the victim’s perspective, which is a little different for us.”

With 2017 seeing a slew of stunning new releases from death metal’s old guard – including Suffocation, Obituary and Dying Fetus – it’s been a landmark year both for the genre and its early innovators, and with Red Before Black Cannibal Corpse stand strong alongside their peers. “We’re proud to be part of a scene that has great, experienced bands that stick to their guns,” affirms Webster. “Death metal is an established form of underground music that’s here to stay, and the leadership bands like these have shown by staying true to the genre is no doubt part of the reason it has such longevity.” That Cannibal Corpse have carved out a career spanning almost three decades is testament to their work ethic, innovative songwriting, passion and devotion to extreme music – though it still remains an astounding feat to the members, as Webster makes humbly clear. “Who could have imagined this? When we started, even Black Sabbath hadn’t been around for three decades. There simply was no precedent for a lifelong career in metal, of any kind, let alone a relatively new form like death metal. We’ve been unbelievably lucky, and we are so grateful to our fans for making it possible.” In typically grounded fashion, they continue to forge ahead, seeing no end in sight, Webster stating he likes to think they have yet to write their best record, while Mazurkiewicz outlines their goals: “I would say we just want to keep it going, try to better ourselves – and finally open for Slayer!”

Artist Links

Started in 1997 by one of Decibel Magazine's Top 20 Death Metal Guitarists of All Time, Erik Rutan (of Morbid Angel & Ripping Corpse), HATE ETERNAL has easily become one of the most prominent names in the extreme metal scene with Terrorizer Magazine recognizing the group as one of the Top 8 Bands of the last Decade! Erik Rutan, J.J. Hrubovcak and Chason Westmoreland weave complex riffs, devastating drums, and truly ferocious vocals into a new masterpiece - INFERUS. The new album is already listed as one of the most anticipated albums of 2015. It’s heavy, it’s catchy, it’s innovative!

Though the band has experienced great success since its beginning in 1997, HATE ETERNAL are no strangers to turmoil and strife. In 2002, Erik chipped vertebrae in his neck in a van accident on tour and spent the next couple of months out of commission. During this period, band members withdrew from tours mere weeks from start date. This included a tour on which a London show was filmed for the band’s first-ever live DVD. Replacements were found and the tours continued on as planned. One of the most unfortunate events was the untimely passing of bassist and dear friend, Jared Anderson, who passed in October 2006 while in talks to rejoin the band. None of the issues ever kept HATE ETERNAL from its trajectory. Almost three years after the metal masterpiece, "I, Monarch", HATE ETERNAL returned to the death metal scene with a new record. Fury and Flames, the band’s fourth studio album, marked the start of a new chapter in HATE ETERNAL’s already illustrious career. Fury and Flames was hailed as a diverse, heavy, chaotic and emotionally fueled record and saw the band on the road in the U.S. and Europe including the large European summer festival circuit (Party San, Summer Breeze and Brutal Assault).

For the writing and recording of Phoenix Amongst the Ashes, HATE ETERNAL recruited J.J. Hrubovcak on bass to join the devastating trio. In terms of the writing on Phoenix Amongst the Ashes, Rutan stated “it was my goal to expand upon what the band has done in the past, and add new dynamics and twists to the traditional, dissonant HATE ETERNAL style, yet keep it in the same vein. It took the three of us really pushing ourselves, and digging deep into the essence of who we are as musicians and writers and players to create something very unique and special.” The touring cycle for this record took the band to Southeast Asia, the Middle East, Central and South America as well as the standard U.S. and European tours.

Following Jade Simonetto's departure, the band recruited Chason Westmoreland on drums and signed with Season of Mist for release of their sixth full-length masterpiece titled Infernus. It was recorded at frontman Erik Rutan’s own Mana Recording Studios in St. Petersburg, FL with mastering handled by Alan Douches of West West Side. This time, artist Eliran Kantor (Hatebreed, Testament, Soulfly) was recruited to create the lavish cover art.

Regarding the recording and the signing, Rutan comments: "We are ecstatic about how the recording for our new album has been coming out so far, and our new label and home Season of Mist. We've worked very hard on crafting these songs to reflect our path, from our past to the present, and the journey of HATE ETERNAL and its members. Writing this album was a long and arduous process. It took a tremendous amount of determination, blood, and sweat to bring this all to fruition. We're super proud of what we've accomplished creatively, and excited at the prospect of releasing what we feel is our most powerful HATE ETERNAL material to date. Now it is time to bring this all to life! The recording process so far has been fantastic. I've never felt so focused and determined on a HATE ETERNAL record, and I know that this will be an album our listeners and supporters will truly appreciate. It represents an important milestone for me personally since 15 years ago both HATE ETERNAL began recording its first album and Mana Recording Studios was born. We have so much more news to share with you over the coming months. We cannot wait for you to hear this album!"

HATE ETERNAL have been one of the leading death metal acts worldwide for over eighteen years. The band's full-length albums are considered crucial genre touchstones, and HATE ETERNAL are a proven headliner on major stages across five continents.